During the design process, architects produce images to shape buildings projects and communicate. We question the space of the imagination in representations produced by two international architects depending on the tools used. We will see what are the consequences to interpret them. The comparison of two practices is interesting because different meanings are given to images. While Peter Zumthor uses charcoal to create “the desire of the real presence” leaving the viewer “infiltrate [his] imagination” (Zumthor 2008: 18), Jean Nouvel uses digital tools whose the objective is the “total hyperrealism” (Siret, Baly, Monin, 2004: 129) that means produce representations of the planned building as “the eyes can see” (A + U, 2006: 138). The images’ issues are very important for architects because they are unavoidable element to win the competition. Indeed, if the image is a vision of the future building as the designer imagined, it is also perceived as a commitment for the building to be constructed. But what do we see in the architectural image: symbolic representation or contractual element?